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We are thrilled to be a part of Century Guild’s kickstarter project - Century Guild Magazine 2013: from Klimt to The Great Gatsby.
THE SCENT! —
PURSUE RABBIT
Inspired by one of Gail Potocki’s extraordinary interpretations of the Cheshire Cat, and created exclusively for Century Guild! An enigmatic blend of vanilla-infused sandalwood with wild black tobacco, white tea leaf, matcha, white musk, orange blossom, pale incense, and opium tar.
http://www.kickstarter.com/projects/337503446/century-guild-magazine-2013-from-klimt-to-the-grea/posts/484614
The oil is limited to fifty bottles, all emblazoned with Gail Potocki’s artwork, and is available in three packages: $26 for the oil alone, $47 for a package including the magazine, and $99 for a special package with the oil, the magazine, and a signed and numbered print of Gail’s Cheshire Cat!
Even if you don’t choose to purchase the oil packages, please consider supporting this project! Century Guild is an incredible salon, Gail is a phenomenal artist, and Tom, Chandra, and Melissa are three of our favorite people!
Visit Century Guild!
6150 Washington Boulevard
Culver City, CA 90232
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STAWP.
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Bofur, Bombur and Bifur
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Michele Caragher
Embroidered details in Game of Thrones
‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.
After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.
The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.
As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.
Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.
Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’
Text and images from http://www.michelecarragherembroidery.com
God, that embroidery is so gorgeous! I had no idea that third dress was so detailed after seeing it on the show… Amazing work.
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Bill Murray on Gilda Radner:
“Gilda got married and went away. None of us saw her anymore. There was one good thing: Laraine had a party one night, a great party at her house. And I ended up being the disk jockey. She just had forty-fives, and not that many, so you really had to work the music end of it. There was a collection of like the funniest people in the world at this party. Somehow Sam Kinison sticks in my brain. The whole Monty Python group was there, most of us from the show, a lot of other funny people, and Gilda. Gilda showed up and she’d already had cancer and gone into remission and then had it again, I guess. Anyway she was slim. We hadn’t seen her in a long time. And she started doing, “I’ve got to go,” and she was just going to leave, and I was like, “Going to leave?” It felt like she was going to really leave forever.
So we started carrying her around, in a way that we could only do with her. We carried her up and down the stairs, around the house, repeatedly, for a long time, until I was exhausted. Then Danny did it for a while. Then I did it again. We just kept carrying her; we did it in teams. We kept carrying her around, but like upside down, every which way—over your shoulder and under your arm, carrying her like luggage. And that went on for more than an hour—maybe an hour and a half—just carrying her around and saying, “She’s leaving! This could be it! Now come on, this could be the last time we see her. Gilda’s leaving, and remember that she was very sick—hello?”
We worked all aspects of it, but it started with just, “She’s leaving, I don’t know if you’ve said good-bye to her.” And we said good-bye to the same people ten, twenty times, you know.
And because these people were really funny, every person we’d drag her up to would just do like five minutes on her, with Gilda upside down in this sort of tortured position, which she absolutely loved. She was laughing so hard we could have lost her right then and there.
It was just one of the best parties I’ve ever been to in my life. I’ll always remember it. It was the last time I saw her.”- from Live from New York: an Uncensored History of Saturday Night Live
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The old clock on the stairs.
William Ladd Taylor, from Our home and country, introduction by William Howe Downes, New York, 1908.
(Source: archive.org)
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I began to realize how important it was to be an enthusiast in life. He taught me that if you are interested in something, no matter what it is, go at it at full speed ahead. Embrace it with both arms, hug it, love it and above all become passionate about it. Lukewarm is no good. Hot is no good either. White hot and passionate is the only thing to be.
Roald Dahl, My Uncle Oswald
[Illustration by Ronald Balfour from the Rubáiyát ]
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Fair flower, that dost so comely grow,
Hid in this silent, dull retreat,
Untouched thy honied blossoms blow,
Unseen thy little branches greet:
No roving foot shall crush thee here,
No busy hand provoke a tear.
By Nature’s self in white arrayed,
She bade thee shun the vulgar eye,
And planted here the guardian shade,
And sent soft waters murmuring by;
Thus quietly thy summer goes,
Thy days declining to repose.
Smit with those charms, that must decay,
I grieve to see your future doom;
They died—nor were those flowers more gay,
The flowers that did in Eden bloom;
Unpitying frosts and Autumn’s power
Shall leave no vestige of this flower.
From morning suns and evening dews
At first thy little being came;
If nothing once, you nothing lose,
For when you die you are the same;
The space between is but an hour,
The frail duration of flower.
- the Wild Honeysuckle, Philip Freneau
[ Image: Ophelia, John Austen ]
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I love this idea! An alter that you can draw different sigils and symbols on according to your ritual…
My yule altar for the resurrection of the sun on 25th December. I drew the medieval wolfworm to represent the cycle of the world and seasons. The scarab to the left carries the sun back into the sky. The suns resurrection signifies the reawakening of life forces and the patterns of life and death.
Great idea!